Add narrative docs

docs/narrative/AI_GEN.md

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+# AI Generation
+
+This documents contains everything concerning AI image generation, from pipeline to prompts.
+
+## Quality
+
+For female characters:
+
+```
+cute, femmasterpiece, best quality, amazing quality, 4k, very aesthetic, high resolution, ultra-detailed, absurdres, newest, esthetic,
+saturated, sensitive
+```
+
+For scenarios:
+
+TODO
+
+---
+
+# Emma
+
+The girl next door, sunny, deredere
+
+## Body
+
+```
+red curly long hair, pronounced cheekbones, big round glasses, big cerulean eye, little freckles, sexy, 
+large breasts, narrow waist, curvy, busty, plump, wide hips, sweat, wet, shiny skin, cleavage, midriff,
+collarbone, hip dips, hip bones
+```
+## Suites
+
+### Casual 
+
+```
+denim micro shorts, thick thighs, dark green side-tie highleg thong bikini under clothes
+```
+
+---
+
+# Christy
+
+## Body
+
+mohawk, blue hair, pronounced cheekbones, big red eye, sexy, large breasts, narrow waist, curvy, busty, plump, wide hips, 
+sweat, wet, shiny skin, cleavage, midriff, collarbone, hip dips, hip bonesblack 
+
+
+---
+
+# Positioning
+
+The words below are examples:
+
+```
+arched back, head tilt, leaning forward, legs apart, from side, pov, upper body, face focus,
+foreshortening, dutch angle
+```
+
+# Scenario
+
+The words below are examples:
+
+```
+foreshortening, dutch angle, dappled sunlight, sunset, under palm tree, beach, orange sky, cloud, detailed background, 
+backlighting, volumetric light
+```
+
+---
+
+# Generation
+
+Prompt pieces used for generating Emma's pictures from scratch.
+Guidelines:
+
+- Always use Quality as it is. Cannot be changed
+- Always use Body as it is. Cannot be changed
+- Pick a single Suite (right now there's only Casual)
+- You can pick pieces as you want in Positioning, one or many of them. You could also use completely new prompt pieces (not in the list)
+- Do not use scenario at the moment
+
+Seeds:
+	
+- 1812077376
+- 573523049
+
+---
+
+# Edit
+
+Basic prompt pieces used for edit generated images with edit models.
+
+## Generic
+
+preserve style
+
+## Emotion
+
+- Happy, smile
+- Angry, blush
+- Shy, blush
+- Cringed

docs/narrative/ORZO_01.md

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+## Orzo 01
+
+Orzo 01 is a adult visual novel. 
+
+## Setting
+
+A traveling summer festival circuit across rural Japan. The player is a foreign photographer 
+hired to document the festivals for a tourism board — lantern festivals, harvest celebrations, fire 
+ceremonies. He travels in a small convoy: a van, a truck of equipment, and a handful of performers 
+and staff who become his temporary family for eight weeks. The world is taiko drums, paper lanterns, 
+summer heat, and roads between villages where the rice fields stretch forever.
+
+## Characters
+
+### Emma (Deredere)
+
+A shamisen player and part-time narrator for the festival's storytelling segments. She's been on the
+circuit for three summers. Knows every festival organizer, every shortcut, every local dish. Calls the 
+player "kisha-san" (Mr. Photographer) with a smile that makes it impossible not to smile back.
+
+**First encounter**: At a lantern-lighting ceremony, she appears beside him, close enough that their
+sleeves touch, and whispers "You're framing it wrong — lower, let the water reflect the light."
+She's right.
+
+### Christy (Tsundere)
+
+A fire dancer and acrobat — the festival's showstopper. Grew up in the circuit; her grandmother ran 
+the same troupe. She rarely speaks unless it's about performance. When she dances, she's untouchable.
+Offstage, she's untouchable too — by choice.
+
+**First encounter**: Behind the equipment truck, stretching alone before a performance. The player's 
+camera clicks accidentally. She stops mid-stretch. "Delete it." He does. She doesn't thank him. 
+
+## Characters interplay in this world
+
+- **Emma's route** is a summer romance in the classic sense — fleeting, luminous, aching precisely because 
+it has an end date. Every festival is a new backdrop. She teaches him phrases in dialect, drags him 
+to food stalls at midnight, falls asleep against his shoulder on the van between towns. Her Deredere
+nature means she never holds back — she knows this ends in August and chooses to love fully anyway. 
+The question is whether the player can match her courage.
+
+- **Christy's route** is about what's behind the performance. She dances with fire because her grandmother
+did, because the circuit is the only home she's ever known, because stillness terrifies her. The 
+player earns access in fragments: a shared cigarette behind the stage, a scar on her forearm from a 
+childhood accident, the admission that she's never been photographed by someone she trusted. 
+When she finally lets him photograph her — not performing, just her, at dawn, tired and real — it's 
+more intimate than anything physical.
+
+- **The shared world**: The festival circuit is a living thing — fireworks, rain delays, broken truck
+axles, impromptu performances in a village that wasn't on the schedule. Emma and Christy grew up in 
+these traditions in different ways. Emma knows the stories behind every festival. Christy knows the 
+body behind every performance. Together they complete the circuit. The player photographs both: 
+Emma laughing with festival elders, Christy mid-spin with fire blooming around her. Through the lens,
+he begins to understand what he's choosing between.
+
+- **Route intersection** — the final festival: The last night. A fire ceremony on a lake. Emma 
+narrates the story — an old tale about a spirit who must choose between the sun and the moon.
+Christy dances the spirit's role, flames reflected in black water. The player photographs from the 
+shore, and the lens captures a moment where both women are looking at him.
+
+# Chapters
+
+## Chapter 1 — *First Light*
+
+Covers the protagonist's first 2–3 days on the circuit: arrival, initiation into the convoy,
+and first encounters with both heroines. Establishes world, tone, the 8-week clock, and the
+immediate emotional texture of the two routes.
+
+---
+
+### Affinity System
+
+Every character tracks `affinity` on a hidden integer scale (approx. −10 to +10 per chapter).
+Choices raise or lower affinity. Affinity gates route availability, scene variants, and the
+final festival outcome.
+
+**Notation:**
+- `E+ / E−` = Emma affinity change
+- `C+ / C−` = Christy affinity change
+- `T+ / T−` = Takeda / crew affinity change
+
+---
+
+### Scene 1 — *The Road In*
+
+**Location:** A rural train platform, then the interior of a cramped van driving through
+rice-field country under crushing summer humidity.
+
+**Characters:** Protagonist, **Takeda** (grizzled convoy driver & coordinator), unnamed
+crew hands.
+
+**What happens:**
+
+The protagonist steps off a local train into the heat — a foreigner with a camera bag and
+bad Japanese. Takeda picks him up in a dusty van. On the drive, Takeda explains the rhythm
+of the circuit (shows, travel, sleep, repeat), points out landmarks, and gruffly sizes up
+the new photographer. Rice fields stretch endlessly past the window. The van smells of
+gasoline and old coffee. The protagonist photographs the landscape through the glass — his
+first frame of the journey.
+
+**Choice 1 — *"First impressions"***
+
+*Takeda glances at the protagonist's oversized camera bag and says: "You know this isn't
+a vacation, right?"*
+
+| Option | Text | Affinity |
+|--------|------|----------|
+| A | "I'm here to work. You'll see." | T+1 — Takeda respects grit |
+| B | "Work and vacation aren't so different through a lens." | Neutral — Takeda shrugs |
+| C | "I'll try not to slow you down." | T−1 — Takeda smells weakness |
+
+**Consequences:** Teaches the player that choices exist and have consequences. Low-stakes,
+crew-only. The "8 weeks" deadline is seeded in conversation. Takeda becomes the player's
+anchor to the practical world of the circuit.
+
+---
+
+### Scene 2 — *Arrival at Ground*
+
+**Location:** A festival ground in a small town — tents going up, lantern strings being
+hung, taiko drums unloaded under afternoon sun.
+
+**Characters:** Protagonist, Takeda, crew members. **Glimpses** of Emma (distant, tuning a
+shamisen on a crate, laughing with elderly locals) and Christy (distant, hauling twice her
+weight in equipment, face set in concentration).
+
+**What happens:**
+
+The convoy arrives. The protagonist is assigned a corner of the crew tent and told to
+"shoot everything — setup, faces, the town." He wanders the grounds, photographing the
+controlled chaos. The heat is oppressive. A festival elder offers him cold tea. He feels
+the first stirrings of belonging — or at least, of being tolerated.
+
+**Choice 2 — *"First glance"***
+
+*The protagonist surveys the grounds. Two figures stand out. His camera is in his hand.
+Where does the lens drift?*
+
+| Option | Text | Affinity |
+|--------|------|----------|
+| A | Photograph the laughing woman — warmth, connection. | E+1 — she notices later, flattered |
+| B | Photograph the solitary woman — strength, isolation. | C−1 — she notices immediately, cold stare |
+| C | Photograph neither — shoot the lanterns, the town, the crew. | Neutral — professionalism |
+
+**Consequences:** First affinity nudge toward one heroine or neutrality. Teaches that
+photographing Christy without permission has consequences — foreshadows Scene 4. The
+player learns the physical geography of a festival ground.
+
+---
+
+### Scene 3 — *The Lanterns* — Emma's First Encounter
+
+**Location:** Riverside at dusk. Paper lanterns being lit and set afloat on black water.
+
+**Characters:** Protagonist, **Emma**.
+
+**What happens:**
+
+The protagonist is at the water's edge, struggling to frame the lantern ceremony — the
+light, the reflections, the faces. A voice beside him, close enough that their sleeves
+touch: *"You're framing it wrong — lower, let the water reflect the light."* He adjusts.
+She's right. He turns. Emma smiles and says *"kisha-san"* (Mr. Photographer) with a warmth
+that makes it impossible not to smile back. She introduces herself — shamisen player,
+part-time narrator, three summers on the circuit. Brief, easy conversation. She knows
+everyone. She offers to show him the best food stalls later. Then she's gone, pulled away
+by a festival organizer, throwing a wave over her shoulder.
+
+**Choice 3 — *"The correction"***
+
+*Emma whispers: "You're framing it wrong — lower, let the water reflect the light." The
+protagonist adjusts. She's still beside him, sleeve brushing his, waiting to see what he
+does next.*
+
+| Option | Text | Affinity |
+|--------|------|----------|
+| A | "Thank you. I'm [name]. Are you with the festival?" | E+2 — open, warm, matches her energy |
+| B | Lower the camera and just watch the lanterns with her. | E+3 — she's surprised; he chose the moment over the shot |
+| C | Nod, keep shooting. She'll drift away. | E−1 — missed connection; she's too polite to push |
+
+**Choice 4 — *"The name"***
+
+*She calls him "kisha-san" for the first time, smiling.*
+
+| Option | Text | Affinity |
+|--------|------|----------|
+| A | Smile back. "And what should I call you?" | E+1 — reciprocity |
+| B | "Kisha-san? I've been called worse." | E+1 — playful; she laughs |
+| C | "Just [name] is fine." | Neutral — she notes the correction but keeps using kisha-san anyway |
+
+**Consequences:** Emma is established as instantly warm, knowledgeable, effortlessly
+charming. The *"kisha-san"* nickname is born — it sticks for the whole story. First
+genuine human connection for the protagonist. The player receives a clear invitation toward
+Emma's route: open, luminous, no games.
+
+---
+
+### Scene 4 — *The Click* — Christy's First Encounter
+
+**Location:** Behind the equipment truck, just before the evening performance. Dusk, long
+shadows, distant taiko drumming.
+
+**Characters:** Protagonist, **Christy**.
+
+**What happens:**
+
+The protagonist, looking for a different backstage angle, rounds the truck and finds
+Christy stretching alone — a fire dancer's discipline, all controlled tension. She hasn't
+seen him. He raises the camera on instinct. The shutter clicks. She stops mid-stretch,
+turns, and her eyes are ice: *"Delete it."* No anger — just a cold, absolute wall. He
+shows her the empty screen. She turns away without a word. He leaves, heart thumping, more
+unsettled than he expected.
+
+**Choice 5 — *"Delete it"***
+
+*The shutter clicks. Christy stops mid-stretch. Her eyes find him. "Delete it."*
+
+| Option | Text | Affinity |
+|--------|------|----------|
+| A | Delete it immediately. Show her the empty screen. Say nothing. | C+1 — she expected a fight; silence surprises her |
+| B | Delete it. "I'm sorry. I should have asked." | C+2 — she didn't expect an apology; stores it |
+| C | Delete it, but hesitate. "I wasn't trying to—" | C−1 — she doesn't want explanations |
+| D | "Why? It was just a stretch." | C−3 — walls go up; she walks away visibly colder |
+
+**Choice 6 — *"The exit"***
+
+*She turns away. The protagonist is still standing there.*
+
+| Option | Text | Affinity |
+|--------|------|----------|
+| A | Leave quietly. | C+1 — she notices the absence of further intrusion |
+| B | "Good luck tonight." | Neutral — she doesn't respond, but files it |
+| C | Raise the camera again — just in case. | C−3 — she catches the movement in her peripheral; dangerous |
+
+**Consequences:** Christy is established as guarded, formidable, unwilling to be seen
+outside her performance. The protagonist's relationship with his camera gains ethical
+weight — *taking* vs. *being given.* The player understands Christy's route will not come
+easily. Option B in Choice 5 is the highest gain because it acknowledges her autonomy.
+Option D is a significant setback — recoverable, but it closes early trust.
+
+---
+
+### Scene 5 — *Fire and Strings* — First Performance
+
+**Location:** Main festival stage at night — paper lanterns, bonfire light, a crowd of
+villagers and travelers.
+
+**Characters:** Protagonist, **Emma**, **Christy**, Takeda, crew, festival crowd.
+
+**What happens:**
+
+The first full performance. Emma takes the stage with her shamisen, narrating a folk tale
+with a voice that carries across the crowd — playful, dramatic, beloved by the locals.
+Then Christy enters. Fire poi bloom in the dark. She moves and the crowd goes silent.
+Through the viewfinder, the protagonist captures Christy mid-spin, fire trailing like a
+second body, her face unreadable. He turns and catches Emma laughing with a festival elder
+at the edge of the stage, shamisen resting on her lap. Two frames. Two women. He doesn't
+know it yet, but the choice has already begun to form.
+
+**Choice 7 — *"The lens"***
+
+*The protagonist has one camera, one angle, one moment that will define his coverage. The
+shamisen rises. The fire blooms.*
+
+| Option | Text | Affinity |
+|--------|------|----------|
+| A | Frame Emma — the storyteller, face lit by lanterns, voice carrying the tale. | E+2 — she spots him in the crowd; her smile flickers |
+| B | Frame Christy — fire trails, the dancer's body in motion, untouchable. | C+1 — she doesn't know, but the photo becomes important later |
+| C | Wide shot — both in frame, the stage, the crowd, the whole moment. | Neutral — professional; captures the festival, not the person |
+
+**Consequences:** A soft route signal. The player tells the game who they're watching.
+Christy's gain is smaller because she doesn't know — but the *photo* persists and can be
+shown to her in a later chapter. Both heroines are shown in their element. The circuit's
+magic is fully established.
+
+---
+
+### Scene 6 — *Midnight Stalls*
+
+**Location:** Late-night food stalls at the festival's edge — strings of bare bulbs,
+sizzling grills, laughter. Then the van interior, driving through darkness to the next
+town.
+
+**Characters:** Protagonist, **Emma**, Takeda, crew members.
+
+**What happens:**
+
+After the show, the crew descends on the food stalls. Emma finds the protagonist and drags
+him by the sleeve to try *imagawayaki* and *yakisoba* from a specific stall — "the best in
+three prefectures, I've done the research." She teaches him a local dialect phrase and
+laughs when he butchers it. Takeda tells a story about a festival where the floats caught
+fire. The crew are a family tonight — tired, happy, temporary. On the van ride to the next
+town, Emma falls asleep against the protagonist's shoulder. The rice fields slide past in
+the dark.
+
+**Choice 8 — *"The dragging"***
+
+*Emma grabs the protagonist's sleeve. "Come on, kisha-san — there's a stall three blocks
+in that has imagawayaki that will ruin you for all other food."*
+
+| Option | Text | Affinity |
+|--------|------|----------|
+| A | "Lead the way." Let her pull you into the crowd. | E+2 — she beams; she loves showing people things |
+| B | "I should finish uploading photos first." | E−1 — her smile falters, just slightly; she recovers fast |
+| C | "Only if you're paying." | E+1 — she laughs and calls him cheap; it becomes a running joke |
+
+**Choice 9 — *"The dialect"***
+
+*Emma teaches him a phrase in the local dialect — something untranslatable about the smell
+of summer rain on rice fields.*
+
+| Option | Text | Affinity |
+|--------|------|----------|
+| A | Try earnestly, even if you butcher it. | E+2 — she's delighted by the effort |
+| B | "That's never coming out of my mouth correctly." | E+1 — she teases him about it for the rest of the night |
+| C | "Teach me something useful instead." | E−1 — a small wound; she was sharing something real |
+
+**Choice 10 — *"The shoulder"*** ⭐
+
+*In the van, late night. Emma has fallen asleep against the protagonist's shoulder. The
+road hums. The next town is two hours away.*
+
+| Option | Text | Affinity |
+|--------|------|----------|
+| A | Don't move. Let her sleep. | E+3 — she wakes briefly, murmurs something, doesn't pull away |
+| B | Gently adjust so she's more comfortable. | E+2 — she doesn't wake, but her body relaxes |
+| C | Shift away. It feels too familiar. | E−2 — she wakes, pretends she didn't, moves to the window |
+| D | Take a photo of her sleeping. | E−3 — she wakes, sees the camera, warmth evaporates: *"kisha-san... don't."* |
+
+**Consequences:** Emma's route deepens — physical closeness, vulnerability, the ache of
+impermanence. The "temporary family" dynamic is fully realized. Option D is devastating
+because it echoes the Christy scene — using the camera as a barrier instead of a bridge.
+Teaches that *both* heroines require consent. The dialect phrases become a recurring
+motif on Emma's route.
+
+---
+
+### Scene 7 — *Before Dawn* — Christy's Echo
+
+**Location:** The next morning, a quiet edge of the new festival ground. Mist over rice
+fields. Before sunrise.
+
+**Characters:** Protagonist, **Christy**.
+
+**What happens:**
+
+The protagonist wakes before the convoy, restless. He walks out with his camera, meaning
+to photograph the sunrise. He finds Christy already there — practicing alone, no fire,
+just pure movement flowing through forms her grandmother taught her. Absorbed, unguarded.
+She hasn't seen him. His camera is in his hand.
+
+**Choice 11 — *"The morning"*** ⭐ *Key turning point of Chapter 1*
+
+*The protagonist finds Christy practicing alone in the mist. No fire — just movement, her
+body flowing through forms. She hasn't seen him. His camera is in his hand.*
+
+| Option | Text | Affinity |
+|--------|------|----------|
+| A | Photograph her. This is what he's here to do. | C−3 — she senses it, stops, turns: *"You again."* Cold fury |
+| B | Don't photograph. Watch in silence, then leave before she notices. | C+2 — she never knows; but the *player* grows |
+| C | Don't photograph. Stay. Let her see you watching — no camera raised. | C+3 — she stops, meets his eyes, doesn't speak, doesn't send him away — the first crack |
+| D | Call out. "Morning." Try to talk. | C−2 — she freezes, grabs her things, leaves without a word; he invaded her time |
+
+**Consequences:** The signature choice of Chapter 1. Defines the protagonist's
+understanding of Christy. Option C is the highest affinity gain possible with her in this
+chapter — it communicates *I see you, and I'm not taking anything.* Option A is a severe
+setback and closes early soft moments on her route. The chapter ends on Christy alone in
+the mist — and the protagonist understanding, for the first time, that some things cannot
+be photographed. They have to be earned.
+
+---
+
+## Chapter 1 — Affinity Summary
+
+| Character | Max gain (all best choices) | Max loss (all worst choices) | Spread |
+|-----------|-----------------------------|------------------------------|--------|
+| Emma | +12 | −7 | 19 points |
+| Christy | +7 | −10 | 17 points |
+| Takeda / Crew | +1 | −1 | 2 points |
+
+### Chapter-End Affinity Thresholds
+
+At chapter end, affinity levels gate small narrative variants in the transition to
+Chapter 2:
+
+| Threshold | Effect |
+|-----------|--------|
+| **Emma ≥ +6** | She saves him a seat in the van unprompted. A note appears in his camera bag: a local sweet wrapped in paper with *"for kisha-san"* in her handwriting. |
+| **Emma ≤ −2** | She's still friendly, but *"kisha-san"* carries polite distance now. No midnight stalls invitation on her own. |
+| **Christy ≥ +4** | In the van, she glances at him once. Just once. It's nothing — and everything. |
+| **Christy ≤ −5** | She refuses to be in the same frame as him. If he enters a space, she leaves it. This persists into Chapter 2. |
+
+---
+
+## Design Principles
+
+1. **The camera as moral choice.** Half the affinity shifts are about whether the
+protagonist raises the lens. Photography is either theft or gift, and the player decides
+which.
+2. **Emma rewards presence; Christy rewards restraint.** Emma's gains come from saying
+*yes* — to food stalls, to dialect lessons, to closeness. Christy's gains come from saying
+*no* — to the camera, to intrusion, to forcing conversation.
+3. **No neutral choices that matter.** Every choice moves a needle. There is no "safe"
+path — only attention and its consequences.
+4. **The two routes are not symmetrical.** Emma is easier to gain affinity with (summer
+romance is generous). Christy is harder (trust is slow). The player who wants Christy's
+route must *work* for it.
+5. **Affinity is invisible.** Players never see the numbers. They feel the consequences
+through character behavior, dialogue shifts, and scene availability — never through HUD
+bars or stats screens.

docs/narrative/PERSONALITY.md

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+# Personality
+
+This document contains a list of personalities that we can find into manga, anime, ecc.
+
+## Tsundere
+
+A Tsundere has a personality that is usually strict, cold, and sometimes hostile toward the person they like and toward others. 
+Occasionally, Tsundere will let their warm and loving feelings, hidden inside their heart, slip out. 
+They hide their feelings because they are shy, nervous, insecure, or simply unable to behave properly in front of 
+their crush.
+
+The Japanese term "Tsundere" refers to a character who is outwardly violent and "runs hot and cold," 
+alternating between two distinct moods: Tsuntsun (from Tsu-) "aloof or irritable," and deredere (from -dere) "loving." 
+It describes a person who is initially cold (and sometimes even hostile), only to later and gradually show 
+a warmer and friendlier side of themselves. Originally found in Japanese bishōjo games, the word is now part of the 
+otaku moe phenomenon, reaching other media such as maid cafés, anime, manga, novels, and even mass media.
+
+A Tsundere is a character who pretends not to be interested in someone else, yet continues to do things for that 
+person. They even keep saying that they are actually not interested in their love interest. Tsundere are characters who 
+are not honest with themselves and their own feelings, or are too embarrassed to admit they love someone.
+
+Extremely frequent will be phrases said by a Tsundere such as: "It's not like I like you or anything!" or 
+"Don't get the wrong idea!" Furthermore, many of them call their love interest "baka," meaning "stupid" or "idiot," 
+but in a gentler way.
+
+Some examples of "Tsundere" characters
+
+- Rin Tohsaka (Fate/Stay Night)
+- Asuka Langley (Neon Genesis Evangelion)
+- Taiga Aisaka (Toradora!)
+- Mikoto Misaka (A certain magical Index/ A certain scientific Railgun)
+- Chitoge Kirisaki (Nisekoi)
+
+## Yandere
+
+A Yandere has a personality that initially tends to love and care for the person for whom they harbor a strong affection 
+until their romantic love, admiration, and devotion become exuberant, excessive, and mentally unstable 
+through overprotection, violence, brutality, or a combination of the three.
+
+The term "Madness" perfectly describes Yandere characters. They are not stupid or reckless people, but rather psychopathic and 
+jealous, who would kill the entire family of their beloved just to be alone with them. 
+Yandere characters are hopelessly in love with their crush, which obviously drives the other to madness from an obsessive 
+love with consequent abnormal behavior against all other people. In these cases, sayings like "Love makes you go crazy" 
+are indeed truthful.
+
+However, not everything that has just been said is true: some Yandere are undeniably crazy from the very beginning. 
+The reason a Yandere goes crazy can vary; they may have been a victim of some horrible event, 
+or they may simply have had a natural inclination to become a serial killer. 
+Regardless, as long as they have a mentally ill type of love, they are identified as Yandere.
+
+Not by chance, the "yan" in the word Yandere comes from the verb yanderu, which means "to be mentally ill."
+
+Furthermore, there are also several subcategories of the Yandere type, but they would take too long to describe 
+in turn: however, you can find an explanatory image of these at this LINK.
+
+Some examples of "Yandere" characters:
+
+- Yuno Gasai (Mirai Nikki)
+- Misa Amane (Death Note)
+- Kotonoha Katsura (School Days)
+- Shion Sonozaki (Higurashi no Naku Koro ni)
+- Anna Nishikinomiya (Shimoneta)
+
+## Kuudere
+
+A Kuudere has a calm and peaceful personality that never panics. They show few emotions and, in extreme cases, 
+are completely devoid of emotions, but they may hide their true feelings deep down.
+
+Kuudere characters are often cold, blunt, and cynical. They may appear emotionless and stoic on the outside, but on the inside 
+they are very caring, at least when it comes to those they love. They are those characters who seem inexpressive, do not react to 
+whatever the love interest says, do not laugh too often at jokes, and are very often associated with the stereotype of the 
+genius detached from the world. These characters are usually characterized by white, blue, or other cool-colored hair.
+
+The key point of a Kuudere character is that although they are presented as something akin to living ice statues, 
+as they develop their relationship with the other person, they begin to open up and even show expressions such as smiling 
+slightly. In some cases, they will completely "melt" or break their ice armor, starting to cry profusely 
+or shout "I love you" to their crush. This happens when a Kuudere switches from kuu- mode to -dere mode.
+
+Kuudere often speak in a calm, monotone tone and appear to be unaffected by the world around them. 
+They never seem to be overly happy, excited, or surprised, just as they never appear sad, annoyed, or angry. 
+Extreme examples can even seem completely devoid of emotions like robots. Although they act seriously on the outside,
+they often have an excellent sense of sarcastic humor.
+
+The kuu- in Kuudere comes from the word "kuuru," which is the Japanese adaptation of the English word "cool."
+
+In Japanese, kuuru can mean many things. It can mean that someone seems cool, calm, or even cold, or a 
+person capable of handling any situation.
+
+In the case of Kuudere, kuuru would be the calm and composed type. The type that shows no emotions and remains cool and collected 
+(cool) no matter what happens.
+
+Some examples of "Kuudere" characters:
+
+- Kanade "Angel" Tachibana (Angel Beats!)
+- Homura Akemi  (Puella Magi Madoka Magica)
+- Yotsugi Ononoki (Monogatari Series)
+- Mei Misaki (Another)
+- Mai Minakami (Nichijou)
+
+## Dandere
+
+A Dandere has a quiet, peaceful, but asocial personality. They are afraid to speak, as they fear that everything they 
+say may get them into trouble. A Dandere character, because of this quiet and silent personality, often appears 
+devoid of emotions. However, they tend to suddenly become talkative, sweet, and cute when alone with the right person, 
+if they are comfortable enough to pour out their heart, revealing that they are actually just shy.
+
+A Dandere will behave more or less like a normal person, but will not speak unless spoken to or asked. 
+They will avoid speaking because of their shyness, but if necessary they will speak, sometimes with some difficulty or embarrassment. 
+A Dandere tends to feel more at ease when surrounded by more people, since they will have fewer occasions to speak. 
+Moreover, they usually tend to relax when, in the group they are in, new characters completely 
+unfamiliar to the others are introduced: this will put the Dandere character on the same level as the newly introduced characters.
+
+The difference between a Dandere and a Kuudere, which may seem similar, is that a Dandere character can be nervous 
+(and not calm) during certain situations with their crush, but will prefer to remain silent, while a Kuudere character can 
+still speak while maintaining their composure and remaining calm. Many Dandere will become agitated if invited to speak, while 
+Kuudere will have no problem answering if necessary.
+
+Some examples of "Dandere" characters:
+
+- Mio Akiyama (K-ON!)
+- Nagisa Furukawa (Clannad)
+- Nadeko Sengoku (Monogatari Series)
+- Umi Sonoda (Love Live)
+- Hitori Bocchi (Hitoribocchi No Marumaru Seikatsu)
+
+## Deredere
+
+A Deredere has a very kind and energetic personality. They are seen most of the time in a cheerful and 
+happy mood and tend to spread joy to those around them. Whatever happens, they quickly return to showing off their smile.
+
+These are the only characters that do not have an abbreviation from the base term "deredere," since its definition is simply 
+just that of "lovey-dovey."
+
+Deredere characters are like all other -Dere types, such as a Tsundere character or a Yandere, since while they are 
+in love with someone, they are able to develop a peculiar character compared to other characters. The biggest difference 
+from other -Dere is that Deredere do not find it strange for another character to get along with the person they love, as long as they do not 
+do anything bad to them. In fact, they do not take it too hard and do not get angry if the person they love is initially 
+together with another character.
+
+As long as the loved one is happy, Deredere will not get too down, whether they themselves end up starting a relationship with 
+that person or not. They will also be kind to their rivals and have fun with them in the meantime. 
+Furthermore, they are not afraid to show their care and affection to their love interest, even if, when it comes to their love 
+for these characters, they are either completely open about it, confessing right away, or they will take a little longer 
+to confess due to the other's reluctance.
+
+Some examples of "Deredere" characters:
+
+- Meiko "Menma" Honma (Anohana)
+- Chika Takami (Love Live! Sunshine!!)
+- Madoka Kaname (Puella Magi Madoka Magica)
+- Chiyo Sakura (Gekkan Shoujo Nozaki-kun)
+- Rinko Yamato (Ore Monogatari)
+
+## Sadodere
+
+A Sadodere has a sadistic or antisocial personality. They enjoy playing with the feelings of their love interests and 
+are commonly referred to as "teasers." In Sadodere, in fact, the word "Sado" derives directly from "sadomaso."
+
+A Sadodere is a troublemaker who enjoys manipulating the feelings of others, usually deriving pleasure from it. 
+It is very common for them to play with the emotions of their love interests and also enjoy humiliating them.
+
+Sadodere are typically defined by their sadistic tendencies and can be violent and cruel to others and even 
+more so to their loved ones. They always have a severe lack of empathy; however, some Sadodere can redeem themselves.
+
+Although this type of -dere enjoys hurting people, they will experience more pleasure when they hurt their loved ones, 
+which is why they can be confused with a Yandere. The difference between the two is that a Sadodere character enjoys doing harm, 
+while a Yandere character will hurt others only to prevent them from stealing their crush. 
+The latter may even hurt their love interest, but only to get something out of it, 
+without necessarily any satisfying feeling from those actions.
+
+Some examples of "Sadodere" characters:
+
+- Kurumi Tokisaki (Date A Live)
+- Junko Enoshima (Danganronpa)
+- Himiko Toga (My Hero Academia)
+- Hayase Nagatoro (Don't Toy with me, Miss Nagatoro)
+- Maika Sakuranomiya (Blend S)
+
+## Bakadere
+
+A Bakadere has a very clumsy and stupid personality, who, most of the time, lack common sense. 
+The term is formed exactly from the famous word "baka," which means precisely "stupid" but also "idiot" or "imbecile."
+
+Bakadere characters are for the most part very innocent and sweet, but their stupidity overshadows their other attributes. 
+Most tend to be excessively carefree and optimistic due to their lack of intelligence. 
+Bakadere characters also act in a childish and empty-headed way. They usually rush into things without thinking 
+first, resulting in embarrassing situations.
+
+Some examples of "Bakadere" characters:
+
+- Chika Fujiwara (Kaguya-sama, Love is War)
+- Mankanshoku Mako (Kill la Kill)
+- Sasha Blouse (Attack on Titan)
+- Mashiro Shiina (The Pet Girl of Sakurasou)
+- Yuuko Yoshida  (Machikado Mazoku)
+
+## Others
+
+**Mayadere** ➔ A dangerous character, initially antagonistic, who however later switches sides for love.
+**Bocchandere** ➔ A character who has a "dark" personality. They are often linked in some way to the Yakuza or the Mafia.
+**Byoukidere** ➔  An extremely kind and sweet character, who however suffers from a physical or mental illness, most of the time fatal.
+**Nemuidere** ➔ A character who spends most of their time sleeping and lazing about.
+**Oujidere/Oujodere** ➔  A narcissistic character who wants, and sometimes demands, to be treated like a prince/princess.
+**Goudere** ➔ A character who would stop at nothing to make their "master" happy.
+**Shundere** ➔ A character who is always sad and depressed due to various life misfortunes.
+**Hajidere** ➔ A character who becomes extremely nervous and embarrassed in front of the person they love.
+**Himedere** ➔ An Oujodere who, however, only wants to be treated that way by the person they love and by no one else.
+**Hiyakasudere** ➔ A character with a marked hypersexuality and histrionic personality.
+**Kamidere** ➔ A character who wants to be treated like a God/Goddess.
+**Kanedere** ➔ A character attracted to rich people / people with lots of money.
+**Kekkondere** ➔ A character who wants to immediately marry someone they have just met.
+**Yottadere** ➔ A character who loves drinking anything alcoholic.

project.godot

@@ -24,9 +24,19 @@ directories/dch_directory={
 "Advisor": "res://docs/museums/dialogic/Advisor.dch",
 "Merchant": "res://docs/museums/dialogic/Merchant.dch",
 "Miko": "res://docs/museums/dialogic/Miko.dch",
-"Raptor": "res://docs/museums/dialogic/Raptor.dch"
+"Raptor": "res://docs/museums/dialogic/Raptor.dch",
+"christy": "res://sandbox/christy.dch",
+"emma": "res://sandbox/emma.dch",
+"takeda": "res://sandbox/takeda.dch"
 }
 directories/dtl_directory={
+"ch1_scene1_road_in": "res://sandbox/chapter1/ch1_scene1_road_in.dtl",
+"ch1_scene2_arrival": "res://sandbox/chapter1/ch1_scene2_arrival.dtl",
+"ch1_scene3_lanterns": "res://sandbox/chapter1/ch1_scene3_lanterns.dtl",
+"ch1_scene4_click": "res://sandbox/chapter1/ch1_scene4_click.dtl",
+"ch1_scene5_performance": "res://sandbox/chapter1/ch1_scene5_performance.dtl",
+"ch1_scene6_stalls": "res://sandbox/chapter1/ch1_scene6_stalls.dtl",
+"ch1_scene7_dawn": "res://sandbox/chapter1/ch1_scene7_dawn.dtl",
 "gym09_congrats": "res://docs/gyms/gym09_scene_switching/gym09_congrats.dtl",
 "gym09_intro": "res://docs/gyms/gym09_scene_switching/gym09_intro.dtl",
 "gym10_main": "res://docs/gyms/gym10_character_portraits/gym10_main.dtl",
@@ -68,6 +78,11 @@ variables={
 "coins": 0,
 "met_merchant": false,
 "player_has_key": true
+},
+"ORZO_01": {
+"chirsty_affinity": 0,
+"emma_affinity": 0,
+"takeda_affinity": 0
 }
 }
 extensions_folder="res://addons/dialogic_additions"